The impact of fractal philosophy on contemporary assemblage art

The origins of mathematical fractal began to take shape since the seventeenth century by the German philosopher (Gottfried Wilhelm Leibniz), who spoke for the first time about the idea of self-symmetry. After that, (Kush Snowflakes), (Sierpinski Triangle), (Sierpinski Carpet) and (Levy Curve) appeared as one of the different forms of fractal science. At the end of the nineteenth century and the beginning of the twentieth century, what is known as “Formation by Iterations” was studied, which is one of the characteristics of fractal forms that distinguish them from other forms, until the scientist (Benoît B. Mandelbrot) was able to reach the real beginning of fractal, who chose a special name for these forms and gave them the term “Geometry Fractal” in 1975. We see traces of Geometry fractal in many arts and civilizations that have passed. It was built by artists through their observation of nature and its building laws that are expressed today through the Geometry fractal. We find it in ancient Egyptian arts, Islamic and Coptic arts, as well as in some African arts. We also find it in modern visual arts and visual illusion arts. Technological development in Western society has provided justifications for the contemporary artist in order to transform the form and visual surface of the work of art, affecting reception, scenes and presentation. The art of assembly has emerged many mixed materials in one work of art. Assemblage art is the art which elements are collected from the physical space and the real world to become that place and visual surface that opens the boundaries between races. The study shows the relationship between fractal philosophy and its impact on contemporary assemblage art through the description and analysis of some artistic models and some of the researcher's own works.